MU Drama’s One Acts Showcase in Review: “Nothing to Declare”

Note: There is mention of drug possession throughout this review.  

“Four unrelated passengers get stopped by customes. One is a drug smuggler. Which of them does not have Nothing to Declare?”

I caught MU Drama’s One Acts, Lose Your Chance, on the 3rd of December in Smock Alley Theatre. Before the show, Katie Lawrence, writer, director, and third-year LLB student, stepped out to introduce Nothing to Declare. Calm and confident, you would be surprised this was her directorial debut, having previously acted in last year’s full-shot production of Beautiful Liars.  

The premise is simple: four seemingly unrelated passengers, four airport security officers, one hidden truth. Officers 1 to 4 (Neepa Khan, Kim McCormack, Taz Fagan, and Carter Murray) drive the investigation, their dynamic grounding the comedy, with Khan leading the operation, while Murray plays the anxious newbie. Meanwhile, Mateo Alonso (Ethan Hayes), James Patrick Robertson (Jace Serwadda), Alina Muller (Eimear Cannon), and Michelle Donovan (Beatrice Rusu) face interrogation. The cast notably won ‘Best Ensemble’ at the society's One Act Awards.

Lighting was particularly effective: a spotlight isolated the officer and suspect, while the rest of the stage fell into darkness. This created a pressure-cooker effect, focusing audience attention and visually reflecting the unravelling of each character's story. 

Mateo Alonso arrives from Spain with minimal luggage, visiting his sister and her new baby. Hayes captured the interrogation like a rollercoaster: controlled frustration, explosive anger, then apologetic stuttering when Officer 2 find incriminating “sleep tea.” The actor's emotional range in such a short scene was impressive.

Then comes James Patrick Robertson, a recently graduated sixth year using his father’s money to travel after missing his CAO points. In a pre-show interview with Silver Hand Journal, Serwadda admitted he’s relatively new to acting, having only recently performed in MU Drama’s Love You to Death. He described Lawrence’s script as “very wordy,” packed with long paragraphs delivered under pressure with just a week to memorise. His survival strategy?  Rely on his scene partner - if they didn’t remember their lines “then disaster.” On stage, none of that pressure showed. Serwadda’s James is flamboyant and chaotic, a spoiled young man who believes he can flirt his way past customs. When asked if he’d ever be friends with James, he immediately said no – and this distance works in his favour as he exaggerates James’ unbearable qualities with total commitment. His natural chemistry with Fagan reflects what he affectionally called a “cult” where everyone "gets along together really well.”

The next passenger is Alina Muller, an Erasmus student en route to Maynooth University. Her convoluted travel story immediately raises alarm: Munich to Madrid to Dublin because it was “cheaper.” Cannon’s anxious mumbling delivery makes Khan’s frustration feel real, their chemistry keeping me in the audience leaning forward. Tension peaks when suspicious bank transfers are discovered, and the ion scanner detects cocaine residue.

Finally, Michelle Donovan, Head of Sales for luxury cosmetic brand James & Dean, is dazzling. Rusu lights the stage with a perfect “do you know who I am?” poise, brushing off questions with tales of dinners with wealthy clients. Her unlabeled cosmetic bottles are waved off as “samples,” and blames cocaine traces in her luggage on the high-end habits of her clientele. Rusu's hilarious, self-assured performance sells Donovan as untouchable.

The officers regroup under a single spotlight. One by one, each passenger, bar Muller, is cleared and let go. Muller remains under interrogation until the truth clicks into place in an Usual Suspects-style. Michelle Donovan, who has already exited the airport, is the real culprit, having blackmailed Muller. The guards scramble offstage as the audience burst into laughter. It’s a brilliantly timed twist, made even better by how confidently Rusu had played Donovan throughout.  

The stage is cut to black; the lights return as the cast regroup for their bow, soaking in their well-deserved applause. Nothing to Declare is a sharp, cleverly constructed piece, elevated by strong performances and a final reveal that had the whole theatre buzzing.  

My only critique – while props were used effectively: tables, suitcases, and suspicious items in zip-locked bags – the world could be enriched by one or two more environmental touches to deepen the sense of place. There is a moment where Fagan body searches Rusu in the background of conversation, which is hilarious; and smaller details such as this could heighten the realism and comedy further.

But honestly, that's nitpicking. The production's simplicity is its charm. The tight space forces the actors’ performance to tell the story, and they meet that challenge with ease.

Thank you to Cyan Doyle, Craig Doyle, and everyone at MU Drama for your endless generosity. Thanks to Katie Lawrence for providing the cast list and production details. And, as always, thank you to Finn O’Neill for your interview collaboration and companionship throughout the evening.